yeah
hey our yeah i was just swing in there for a second there and playing some
fancy jazz chords this this lesson we're going to talk about another aspect of
the jazz blues connection which is harmony
last time our discussion centered on rhythm and talking about the difference
between the Boogie shuffle feel are driving kind of in a barroom rock and
roll and jazz which is team team team tattoo team right
so this time we know what the feel is and now we're going to talk about taking
the standard dominant chord harmony that's that's a sort of a basic trade
market blues and building on it to create cords that are more typical of
the jazz style now
blues as you know is based on dominant chords dominant 7th chords key of C
c7
f7
g7 so this is the down home blues you know a guy playing the guitar all by
himself and you're going to hear nothing but dominant 7th chords might be
something like that
member
right everything I played there was
based on the dominant 7 which consists of foreknowledge root 3rd live seven and
you can read in arrange those in any order but it's it's uh it's a triad
plus the minor 7 now jazz and blues kind of started out together and then they
went their separate ways and one thing that happened was down home blues as I
just played was was kind of our rural style of music it was common out in the
countryside and some of the great early stars of blues like blind lemon
jefferson were guys that grew up on the farm you know jazz on the other hand was
urban music started in downtown New Orleans and is it as it expanded
throughout the US and eventually the world it remained in a city style it was
uptown it was sophisticated talk about uptown we're talking about getting away
from the downtown area where you you first get off the train from the country
and you go up town' things get a little slicker the clothes get better you know
people are fancier more sophisticated so the harmony of jazz kind of reflects
that
and so what you hear in jazz is instead of limiting yourself to the dominant 7th
chord we start to add tones to the seventh foundation first time we add is
the ninth the ninth is the octave of the second right and we we break down all
chords by their comparison to the major skill
there see major
there see with that flatted 7th dominant seventh which reflects the sound of the
dominant chord 1357
and then above the octave
I go one step and there's the night eight and nine
so there's the arpeggio of the dominant ninth court now of course when you play
chords on the guitar you don't play it in order like that you break it down and
rearrange it so here's some typical nice chord voicings that you may already be
familiar with c 9
another voicing of c 9
notice that doesn't have the route but we don't need a root cause the bass
players playing right here's another one here
record that Freddie King used on hideaway it's a really cool Night Court
here's another version
not only differs Indian in one of the inside notes but it's the same chord
voicing just rearranging a little bit then I can play something like this
hmm sounds a little jazzier because it highlights the sound of the night
another way now the next uh extension beyond the ninth is the 13th 13th is the
octave of the sixth
so 1 3 5 7 9 and then up to the 13
now when you build extended course you don't have to include all the notes of
course you pick and choose as long as you get the essential ones in there so
13 cord
there's a nice board
there's a 13 I just tacked that note up on top
another common voicing of the 13th cord
more compact there I can put the root on top
cool sound here's another way to finger that same chord
mmm
what's the root on the second string which can be useful in certain keys
where you kind of run out of room on the neck
so the 13th is a very sophisticated sounding chord as we add more extensions
the cords get denser they get a little bit more dissonant and they start to
suit the style of jazz because it's that sophisticated uptown sound right now
along with the extended chords